Handel's Messiah

''Messiah'' (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; ''Messiah'' was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text is an extended reflection on Jesus as the Messiah called Christ. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion of Jesus and ends with the ''Hallelujah'' chorus. In Part III he covers the resurrection of the dead and Christ's glorification in Heaven.

Handel wrote ''Messiah'' for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified, such as Mozart's . In the late 20th and early 21st centuries, the trend has been towards reproducing a greater fidelity to Handel's original intentions, although "big ''Messiah"'' productions continue to be mounted. A near-complete version was issued on 78 rpm discs in 1928; since then the work has been recorded many times.

Background

The composer George Frideric Handel, born in Halle, Germany in 1685, took up permanent residence in London in 1712, and became a naturalised British subject in 1727. By 1741 his pre-eminence in British music was evident from the honours he had accumulated, including a pension from the court of King George II, the office of Composer of Musick for the Chapel Royal, and—most unusually for a living person—a statue erected in his honour in Vauxhall Gardens. Within a large and varied musical output, Handel was a vigorous champion of Italian opera, which he had introduced to London in 1711 with ''Rinaldo''. He subsequently wrote and presented more than 40 such operas in London's theatres.

By the early 1730s public taste for Italian opera was beginning to fade. The popular success of John Gay and Johann Christoph Pepusch's ''The Beggar's Opera'' (first performed in 1728) had heralded a spate of English-language ballad-operas that mocked the pretensions of Italian opera. With box-office receipts falling, Handel's productions were increasingly reliant on private subsidies from the nobility. Such funding became harder to obtain after the launch in 1730 of the Opera of the Nobility, a rival company to his own. Handel overcame this challenge, but he spent large sums of his own money in doing so.

Although prospects for Italian opera were declining, Handel remained committed to the genre, but as alternatives to his staged works he began to introduce English-language oratorios.Burrows (1991), p. 4 In Rome in 1707–08 he had written two Italian oratorios at a time when opera performances in the city were temporarily forbidden under papal decree. His first venture into English oratorio had been ''Esther'', which was written and performed for a private patron in about 1718. In 1732 Handel brought a revised and expanded version of ''Esther'' to the King's Theatre, Haymarket, where members of the royal family attended a glittering premiere on 6 May. Its success encouraged Handel to write two more oratorios (''Deborah'' and ''Athalia''). All three oratorios were performed to large and appreciative audiences at the Sheldonian Theatre in Oxford in mid-1733. Undergraduates reportedly sold their furniture to raise the money for the five-shilling tickets.

In 1735 Handel received the text for a new oratorio named ''Saul'' from its librettist Charles Jennens, a wealthy landowner with musical and literary interests. Because Handel's main creative concern was still with opera, he did not write the music for ''Saul'' until 1738, in preparation for his 1738–39 theatrical season. The work, after opening at the King's Theatre in January 1739 to a warm reception, was quickly followed by the less successful oratorio ''Israel in Egypt'' (which may also have come from Jennens). Although Handel continued to write operas, the trend towards English-language productions became irresistible as the decade ended. After three performances of his last Italian opera '' Deidamia'' in January and February 1741, he abandoned the genre. In July 1741 Jennens sent him a new libretto for an oratorio; in a letter dated 10 July to his friend Edward Holdsworth, Jennens wrote: "I hope andelwill lay out his whole Genius & Skill upon it, that the Composition may excell all his former Compositions, as the Subject excells every other subject. The Subject is Messiah".

Synopsis

In Christian theology, the Messiah is the saviour of humankind. The Messiah (''Māšîaḥ'') is an Old Testament Hebrew word meaning "the Anointed One", which in New Testament Greek is Christ, a title given to Jesus of Nazareth, known by his followers as "Jesus Christ". Handel's ''Messiah'' has been described by the early-music scholar Richard Luckett as "a commentary on esus Christ'sNativity, Passion, Resurrection and Ascension", beginning with God's promises as spoken by the prophets and ending with Christ's glorification in heaven.Luckett, pp. 76–77 In contrast with most of Handel's oratorios, the singers in ''Messiah'' do not assume dramatic roles; there is no single, dominant narrative voice; and very little use is made of quoted speech. In his libretto, Jennens's intention was not to dramatise the life and teachings of Jesus, but to acclaim the "Mystery of Godliness", using a compilation of extracts from the Authorized (King James) Version of the Bible, and from the Psalms included in the 1662 Book of Common Prayer.

The three-part structure of the work approximates to that of Handel's three-act operas, with the "parts" subdivided by Jennens into " scenes". Each scene is a collection of individual numbers or "movements" which take the form of recitatives, arias and choruses.Burrows (1991), pp. 55–57 There are two instrumental numbers, the opening ''Sinfony'' in the style of a French overture, and the pastoral ''Pifa'', often called the "pastoral symphony", at the mid-point of Part I.

In Part I, the Messiah's coming and the virgin birth are predicted by the Old Testament prophets. The annunciation to the shepherds of the birth of the Christ is represented in the words of Luke's gospel. Part II covers Christ's passion and his death, his resurrection and ascension, the first spreading of the gospel through the world, and a definitive statement of God's glory summarised in the ''Hallelujah''. Part III begins with the promise of redemption, followed by a prediction of the day of judgment and the "general resurrection", ending with the final victory over sin and death and the acclamation of Christ.Luckett, pp. 79–80 According to the musicologist Donald Burrows, much of the text is so allusive as to be largely incomprehensible to those ignorant of the biblical accounts. For the benefit of his audiences Jennens printed and issued a pamphlet explaining the reasons for his choices of scriptural selections.

Writing history

Libretto

Charles Jennens was born around 1700, into a prosperous landowning family whose lands and properties in Warwickshire and Leicestershire he eventually inherited. His religious and political views—he opposed the Act of Settlement of 1701 which secured the accession to the British throne for the House of Hanover—prevented him from receiving his degree from Balliol College, Oxford, or from pursuing any form of public career. His family's wealth enabled him to live a life of leisure while devoting himself to his literary and musical interests. Although musicologist Watkins Shaw dismisses Jennens as "a conceited figure of no special ability", Burrows has written: "of Jennens's musical literacy there can be no doubt". He was certainly devoted to Handel's music, having helped to finance the publication of every Handel score since '' Rodelinda'' in 1725.(subscription) By 1741, after their collaboration on ''Saul'', a warm friendship had developed between the two, and Handel was a frequent visitor to the Jennens family estate at Gopsall.

Jennens's letter to Holdsworth of 10 July 1741, in which he first mentions ''Messiah'', suggests that the text was a recent work, probably assembled earlier that summer. As a devout Anglican and believer in scriptural authority, Jennens intended to challenge advocates of Deism, who rejected the doctrine of divine intervention in human affairs. Shaw describes the text as "a meditation of our Lord as Messiah in Christian thought and belief", and despite his reservations on Jennens's character, concedes that the finished wordbook "amounts to little short of a work of genius".Shaw, p. 11 There is no evidence that Handel played any active role in the selection or preparation of the text, such as he did in the case of ''Saul''; it seems, rather, that he saw no need to make any significant amendment to Jennens's work.Burrows (1991), pp. 10–11

Composition

The music for ''Messiah'' was completed in 24 days of swift composition. Having received Jennens's text some time after 10 July 1741, Handel began work on it on 22 August. His records show that he had completed Part I in outline by 28 August, Part II by 6 September and Part III by 12 September, followed by two days of "filling up" to produce the finished work on 14 September. This rapid pace was seen by Jennens not as a sign of ecstatic energy but rather as "careless negligence", and the relations between the two men would remain strained, since Jennens "urged Handel to make improvements" while the composer stubbornly refused. The autograph score's 259 pages show some signs of haste such as blots, scratchings-out, unfilled bars and other uncorrected errors, but according to the music scholar Richard Luckett the number of errors is remarkably small in a document of this length.Luckett, p. 86 The original manuscript for ''Messiah'' is now held in the British Library's music collection. It is scored for two trumpets, timpani, two oboes, two violins, viola, and basso continuo.

At the end of his manuscript Handel wrote the letters "SDG"—', "To God alone the glory". This inscription, taken with the speed of composition, has encouraged belief in the apocryphal story that Handel wrote the music in a fervour of divine inspiration in which, as he wrote the ''Hallelujah'' chorus, "He saw all heaven before him". Burrows points out that many of Handel's operas of comparable length and structure to ''Messiah'' were composed within similar timescales between theatrical seasons. The effort of writing so much music in so short a time was not unusual for Handel and his contemporaries; Handel commenced his next oratorio, ''Samson'', within a week of finishing ''Messiah'', and completed his draft of this new work in a month. In accordance with his practice when writing new works, Handel adapted existing compositions for use in ''Messiah'', in this case drawing on two recently completed Italian duets and one written twenty years previously. Thus, ' HWV 193 from 1722 became the basis of "O Death, where is thy sting?"; "His yoke is easy" and "And he shall purify" were drawn from ' HWV 192 (July 1741), "Unto us a child is born" and "All we like sheep" from ' HWV 189 (July 1741).Burrows (1991), pp. 61–62 Handel's instrumentation in the score is often imprecise, again in line with contemporary convention, where the use of certain instruments and combinations was assumed and did not need to be written down by the composer; later copyists would fill in the details.

Before the first performance Handel made numerous revisions to his manuscript score, in part to match the forces available for the 1742 Dublin premiere; it is probable that his work was not performed as originally conceived in his lifetime.Burrows (1991), p. 22 Between 1742 and 1754 he continued to revise and recompose individual movements, sometimes to suit the requirements of particular singers. The first published score of ''Messiah'' was issued in 1767, eight years after Handel's death, though this was based on relatively early manuscripts and included none of Handel's later revisions.

Dublin, 1742

Handel's decision to give a season of concerts in Dublin in the winter of 1741–42 arose from an invitation from the Duke of Devonshire, then serving as Lord Lieutenant of Ireland.Shaw, pp. 24–26 A violinist friend of Handel's, Matthew Dubourg, was in Dublin as the Lord Lieutenant's bandmaster; he would look after the tour's orchestral requirements. Whether Handel originally intended to perform ''Messiah'' in Dublin is uncertain; he did not inform Jennens of any such plan, for the latter wrote to Holdsworth on 2 December 1741: "... it was some mortification to me to hear that instead of performing ''Messiah'' here he has gone into Ireland with it." After arriving in Dublin on 18 November 1741, Handel arranged a subscription series of six concerts, to be held between December 1741 and February 1742 at the Great Music Hall, Fishamble Street. These concerts were so popular that a second series was quickly arranged; ''Messiah'' figured in neither series.

In early March Handel began discussions with the appropriate committees for a charity concert, to be given in April, at which he intended to present ''Messiah''. He sought and was given permission from St Patrick's and Christ Church cathedrals to use their choirs for this occasion.Burrows (1991), pp. 17–19 These forces amounted to sixteen men and sixteen boy choristers; several of the men were allocated solo parts. The women soloists were Christina Maria Avoglio, who had sung the main soprano roles in the two subscription series, and Susannah Cibber, an established stage actress and contralto who had sung in the second series. To accommodate Cibber's vocal range, the recitative "Then shall the eyes of the blind" and the aria "He shall feed his flock" were transposed down to F major. The performance, also in the Fishamble Street hall, was originally announced for 12 April, but was deferred for a day "at the request of persons of Distinction". The orchestra in Dublin comprised strings, two trumpets, and timpani; the number of players is unknown. Handel had his own organ shipped to Ireland for the performances; a harpsichord was probably also used.

The three charities that were to benefit were prisoners' debt relief, the Mercer's Hospital

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